Redress

#1 - EXT. YERBA BUENA ISLAND - MORNING

A broken shell of a man stands at the top of the small island

connecting both sides of the San Francisco Bay Bridge.

#2 - EXT. YERBA BUENA ISLAND - MORNING

Dead eyes staring off into space

#3 - EXT. YERBA BUENA ISLAND - MORNING

#4 - EXT. YERBA BUENA ISLAND - MORNING

Cars pass below. We get the idea the man is ready to

jump at any second.

He produces a quarter from his right pants pocket.

#5 - EXT. YERBA BUENA ISLAND - MORNING

#6 - INT. BEDROOM - MORNING (FLASHBACK)

He flips a coin.

A coin spinning in the air. A male and a female

hand compete to grab it. The female hand wins.

Coin flips up and goes out of frame.

MAN (O.S.) Call it.
WOMAN (O.S.) Tails!

#7 - INT. BEDROOM - MORNING (FLASHBACK)

Female and man wrestle for coin on the bed. She

pins him and looks at coin.
WOMAN Uh-oh, too slow!
JAKE Hey, you can catch it all you want,
its still gonna be heads!
JEANNIE Well see about that...

Spinning coin falls into frame.

CU of hands competing to catch hand.

#8 - INT. BEDROOM - MORNING (FLASHBACK)

CU insert of coin in females hand. Its heads.

#8 - INT. BATHROOM - MORNING (FLASHBACK)

JEANNIE (CONTD) Shit!

JAKE Ha! I knew it! Told ya, didnt I?
JEANNIE You always win! How do you do that?

Jake exits the bathroom and heads towards the bedroom while
looking out the window.

#10 - INT. BATHROOM - MORNING (FLASHBACK)

JEANNIE Yes, but were gonna walk instead of taking that

death trap of yours. I dont understand why you keep putting
money into that thing.
JAKE (Prideful) Cuz thats what men do! Two hundred thirty
thousand miles and counting, baby!

#9 - INT. BEDROOM - MORNING (FLASHBACK)

JAKE What can I say? I got a gift!

JAKE (CONTD) Im going back to bed - man, it
looks cold out there! Are you taking Carrie to ballet after school?

Jeannie quickly gets dressed as Jake slides back under the covers.

#11 - INT. BEDROOM - MORNING (FLASHBACK)

Jeannie rolls her eyes as she picks up her purse and heads
for the door.
JAKE (CONTD) Hey, dont I get a kiss??

Jeannie stops, turns and leans down to give him a kiss, but
then stops at the last second and hands him the quarter instead.
JEANNIE (playfully) Dont spend it all in one place.
JAKE (Smiling) Yes, maam!

Jake watches her go, smiling happily.

#12 - EXT. BAY BRIDGE - MORNING

He puts the quarter back in his right pants pocket

#13 - EXT. BAY BRIDGE - MORNING

He pulls a business card out of his left pants pocket and

looks at it intently.
Low camera angle. Rack focus from card to mans face.

#14- EXT. BAY BRIDGE - MORNING

#15 - APARTMENT BUILDING - MORNING (FLASHBACK)

Raymond
Lowell
Police O
cer

INSERT C.U. BUSINESS CARD

A police cruiser pulls up to the curb.

#16- APARTMENT BUILDING - MORNING (FLASHBACK)

Heavyset veteran police ocer RAYMOND LOWELL (45),

climbs out of the driver side as younger female police ocer
JULIANA LOPEZ (30) climbs out of the passenger side.
Lowell lumbers out of car, stretches and looks at pad of paper
before heading towards house. Lopez follows his lead.

#18 - APARTMENT BUILDING - MORNING (FLASHBACK)

The ocers cross to an apartment door, knock and wait for

a response.

#17 - APARTMENT BUILDING - MORNING (FLASHBACK)

The ocers walk past a middle-aged Latino GARDENER (40)

who is kneeling down and pouring some gas into his wee whacker.
LOWELL Buenos dias.
GARDENER Buenos dias, senr.

Steadycam shot following officers to the front door

#19 - APARTMENT BUILDING - MORNING (FLASHBACK)

A moment later Jake opens the door.

JAKE Yes...
LOWELL Im Officer Lowell, this if Officer Lopez. I have some news
to tell you...mind if I come in?
JAKE Uh, yeah, sure, I guess...Whats this about?

Medium close shot. Door opens Jake peaks his head thru the door

#19 (CONTD) - APT. BUILDING - MORNING (FLASHBACK)

#20 - APARTMENT BUILDING - MORNING (FLASHBACK)

JAKE Yes...
LOWELL Im Officer Lowell, this if Officer Lopez.
I have some news to tell you...mind if I come in?
JAKE Uh, yeah, sure, I guess...Whats this about?
LOWELL (to Lopez) Stay here.
LOPEZ What?

Lopez nods her head yes and stands off to one side. Jake motions with his hand
for Lowell to enter the apartment.

We hear the annoying WHINE of the weed whacker as the O.S.

Gardener fires it up. Lowell raises his voice so she can hear.

We can tell from Jakes body language that hes just gotten some really bad news.
Lowell walks slowly back to the front door and Jake trails slowly after him. Lowell gently places his BUSINESS CARD on a table near the front door & exits the
apt., closing the door after him.

OFFICER LOWELL Stay here!

#21 EXT. YERBA BUENA ISLAND - MORNING

JAKE crosses to a Nissan Maxima thats seen better days and gets in.
Lowells biz card falls to the ground. Car pulls out of frame.

OFFICER LOWELL (CONTD) Im really sorry.

(beat)
Heres my card, give me a call if you need grief counseling, we have
people in the department that are specially trained to help people in
your situation.

#22 - EXT. YERBA BUENA ISLAND - MORNING

We see its Lowells Biz card. Wind blows business card out of frame.

#23 INT. JAKES CAR

#24 - INT. JAKES APT. HOME - KITCHEN - DAY (FLASHBACK)

Jake sits staring out the windshield, lost in thought while

looking at a picture of JEANNIE and a cute LITTLE GIRL taped
to the dashboard.
A few quick shots ot convey the depressed state of character.

#25 - INT. JAKES APT. HOME - KITCHEN - DAY (FLASHBACK)

The Little Girl from the picture is his impish daughter CARRIE, who
enters the kitchen holding her nose. Jake puts the soldering irondown,
turns around, scoops Carrie up and places her in his lap.

While Jeannie stands at the kitchen counter chopping some

vegetables for dinner, JAKE sits at the kitchen table with a
vintage reel-to-reel tape deck lying on its back in front of
him. The transport mechanism has been removed and Jake is busily
soldering something inside its guts.

#26 - INT. JAKES CAR - MORNING

Jake is driving on the freeway while looking at the picture

of Jeannie and Carrie and thinking about the past.
Camera pans or rack focuses to bomb in paper bag.

#27 EXT. DIVE BAR - NIGHT (FLASHBACK)

A drunken Jake staggers down the sidewalk toward the

bar, holding an almost-empty bottle of bourbon.

#28 INT. DIVE BAR - NIGHT (FLASHBACK)

A physically imposing bald BARTENDER with a handlebar

mustache shakes his head as Jake flumps down onto a bar
stool and puts the bottle on the bar in front of him.
BARTENDER
Cant bring that in here - no
outside drinks allowed.
JAKE
Hey, no problem!

#27 (CONTD) EXT. DIVE BAR - NIGHT (FLASHBACK)

1. Follow lead actor

2. Actor nears bar entry. Extras exit bar.
3. Camera rotates to catch interaction
4. Actor enters bar. Camera enters bar follows
actor towards bar.

#29 INT. DIVE BAR - NIGHT (FLASHBACK)

Jake finishes the bottle with a giant swig. The Bartender

grabs it out of his hand, throws it in a a garbage can
behind the bar and gives Jake the stink eye.

#30 INT. DIVE BAR - NIGHT (FLASHBACK)

#31 INT. DIVE BAR - NIGHT (FLASHBACK)

Bartender

A physically imposing bald BARTENDER with a handlebar

mustache shakes his head as Jake flumps down onto a bar
stool and puts the bottle on the bar in front of him.

Bar

Jake

Jake finishes the bottle with a giant swig.

BARTENDER
Cant bring that in here - no
outside drinks allowed.
JAKE
Hey, no problem!
Bartender has higher position showing dominance/authority

#32 INT. DIVE BAR - NIGHT (FLASHBACK)

Bartender

Bar

#33 INT. DIVE BAR - NIGHT (FLASHBACK)

Jake

The Bartender grabs it out of his hand, throws it in

a a garbage can behind the bar

He gives Jake the stink eye.

#34 INT. DIVE BAR - NIGHT (FLASHBACK)

#35 INT. DIVE BAR - NIGHT (FLASHBACK)

Jakes demeanor suddenly turns deep dark black

He hands the Bartender his cell phone.

#36 INT. DIVE BAR - NIGHT (FLASHBACK)

#37 INT. DIVE BAR - NIGHT (FLASHBACK)

The headline of a newspaper article reads Local Man

sentenced to prison in fatal hit and run accident
Underneath the headline is a picture of an African-American
man next to the body of the article copy.

The news enrages the bartender. His eyes are cold.

He scans the room to see if anyone is present before turning his
attention back to Jake.

#38 INT. DIVE BAR - NIGHT (FLASHBACK)

#39 INT. DIVE BAR - NIGHT (FLASHBACK)

Jake calms down and stares at the Bartender with tears in

his eyes. Bartender pours two shots and slides one to Jake.

Jake looks closely at the Bartenders forearm and hands. Theyre

covered with Nazi tattoos.

Camera slides with shot glass over to Jake.

Bartender slides drink towards camera tattoos come into focus

- Medium Close Up.

- Extreme Close Up.

#43 INT. DIVE BAR - NIGHT (FLASHBACK)

Jake notices the tattoo and studies it. The bartenders question
breaks his concentration on the tattoos.
BARTENDER (CONTD): So wheres he live?
JAKE: Who?
BARTENDER: The son of a bitch who killed your family.

#44 INT. DIVE BAR - NIGHT (FLASHBACK)

The Bartender downs his shot and stares at Jake with

a hard, cold look in his eye.
JAKE: In prison...four years. Probably
gonna get out in less than two. Who do you care?
BARTENDER: Cuz I think I might be able to
help you get some...justice.
Bartender leans into frame with hands resting on bar.
Jake looks back intimidated.

#45 INT. BAR OFFICE - NIGHT (FLASHBACK)

The Bartender leads Jake into a cramped back room

that serves as an oce.
Bartender leads Jake to the back room oce
They walk towards the camera to the dimly lit room

#47 INT. BAR OFFICE - NIGHT (FLASHBACK)

The Bartender presses Jake further. Offers him a drink

#46 INT. BAR OFFICE - NIGHT (FLASHBACK)

Theres a desk with a phone and some

papers on it, but Jakes attention is immediately drawn to
the Nazi paraphernalia that covers the walls.
BARTENDER: Have a seat.
JAKE: Listen, I....
BARTENDER : Scared?
JAKE: What? You mean about...
BARTENDER: Yeah.

#48 INT. BAR OFFICE - NIGHT (FLASHBACK)

Jake shrinks in his chair. Bartender gives him a the bomb wrapped
in a paper bag. Jake tries to open Bartender stops him.

#49 EXT. BAR - NIGHT (FLASHBACK)

Jake exits the bar with bag in hand.

#51 EXT. SUBURBAN HOME - MORNING

Jake looks through the rearview mirror of his car at the

Mother and her daughter TASHA exiting their house. Once
they are in view he primes the bomb and exits the car.

#50 INT. SUBURBAN HOME - MORNING

A slightly overweight African-American MOTHER (35)

places asandwich in a paper lunch bag and folds the bag
shut, then looks at the digital clock on the kitchen counter.

#52 EXT. SUBURBAN HOME - MORNING

Mother and daughter (TASHA) leave the house. Tasha

looks over to Jake.

#53 EXT. SUBURBAN HOME - MORNING

Jake walks away from car. His wallet falls

from his back pocket.

#54 EXT. SUBURBAN HOME - MORNING

Tasha reacts to fallen wallet and chases after Jake her

surprised mother struggles to catch up.
MOTHER: Tasha, come back here! Tasha!
TASHA: Hey mister! You dropped your
wallet! Hey mister!

#55 EXT. SUBURBAN HOME - MORNING

Tasha grabs the wallet and heads towards Jake. The bomb in the
nearby car continues to beep.

#56 EXT. SUBURBAN HOME - MORNING

Jake turns to Tasha and realizes what hes done, but its too late.

#57 EXT. SUBURBAN HOME - MORNING

Tasha hands the wallet to a stunned Jake.

#59 EXT. SUBURBAN HOME - MORNING

A sorrow filled Jake stares a head.

#58 EXT. SUBURBAN HOME - MORNING

ECU of Tasha smiling.

#60 EXT. SUBURBAN HOME - MORNING

Tashas mom runs towards her daughter and Jake.

Camera tracks Mother creating running camera action sequence